The publication history of this terrific novella by the Italian novelist and screenwriter Gianfranco Calligarich is almost as fascinating as the book itself. Written when Calligarich was in his twenties, the book struggled to find a publisher until it dropped into the hands of the renowned novelist and essayist Natalia Ginzburg – a writer currently enjoying something of a resurgence in popularity due to the recent reissues from Daunt Books and NRYB Classics. Ginzburg was so enthused by Calligarich’s novella that she persuaded an Italian publishing house to issue it in 1973, resulting in both critical and commercial success.
However, not long after, the book slipped out of print, taking on the status of a cult classic amongst those in the know. Following a couple of revivals in the 2010s, Last Summer in the City is now available to read in English for the first time, courtesy of the translator Howard Curtis and Picador Books. It’s a wonderfully evocative read – intense, melancholic and richly cinematic, like a cross between Fellini’s La Dolce Vita and the novels of Alfred Hayes, tinged with despair.
Last Summer is narrated by Leo Gazzara, a thirty-year-old man from Milan who has come to Rome as a correspondent for a medical-literary magazine. When the publication folds, he finds himself drifting around the city, shuttling from one cheap hotel to another, picking up a little freelance work here and there when he needs money to get by. Having eschewed the usual trappings of respectability revered by his older sisters, Leo often relies on the generosity of others, feeding on their ‘leftovers’ in more ways than one. So when two relatively wealthy friends move to Mexico City for a year or two, Leo agrees to house-sit their apartment, providing him with a comfortable place to live as he meanders around Rome.
His life is a somewhat shallow, disorganised one as he drifts from one woman to another, one bar to another, one gathering to another, frequently hosted by his glamorous, generous friends. Alongside lassitude, alcohol is another demon for Leo, blurring his senses as he tries to kick the habit. Interestingly, Calligarich often depicts Leo in the morning after the night before, a leisurely time of day that our protagonist enjoys – after all, he has long been a magnet for women.
I slept until late morning, when I woke up to an empty apartment. I found coffee already made, along with a note. Stay as long as you like. I thought about it, as I lay in a bathtub filled with warm water, I thought about whether to stay or not, until I realised that the only thing I could do now was leave and never come back. And so, like so many other times, for the last time I got out of her bath, dried myself, finished the coffee, and left, firmly closing the door behind me. (p. 98)
One evening, at a party hosted by friends, Leo meets Arianna, a beautiful, unpredictable, impulsive young woman who catches his eye. After the soiree breaks up, Leo and Arianne drive through the city, flirting with one another, stopping for warm brioche at a bakery and driving to the sea before dawn. It’s the start of an intense yet episodic love affair that waxes and wanes over the summer and beyond.
It was the hour when anyone who’s been on his feet all night demands something hot in his stomach, the hour when hands search for each other under the sheets as dreams become more vivid, the hour when the newspapers smell of ink and the first sounds of day start to creep out like an advanced guard. It was dawn, and all that reminded of the night were two shadows under the eyes of this strange girl by my side. (pp. 36–37)
Right from the very start, there is a sense of fatalism about this story, a feeling that Leo and Arianna’s relationship is doomed almost as soon as it gets underway. Here we see two disaffected, damaged souls, unmoored and adrift, never quite connecting with one another as they blow hot and cold. For instance, when Leo thinks he is falling in love with Arianna, she refuses to hear it, silencing his declarations of emotion and affection. Similarly, there are times when Leo rejects Arianna, preferring instead to retreat into his loneliness and anger.
This capricious, volatile quality also applies to their other relationships, particularly the one between Arianna and her rather jealous sister, Eva – a bond characterised by frequent quarrels and overly dramatic flounces, particularly from Arianna.
Rome is almost a character in itself here – the city is home to the transient, the people that pass through, often searching for something new or different, even if they cannot define what that ‘something’ might be. Calligarich’s depictions of Rome are seductive and glamorous at times, especially at night. And yet, there’s something brittle and all-consuming about the capital, too – a darkness or destructive note that must be respected and borne in mind. Rome is a place that feeds a person’s needs and disaffections – by turns, charming, tolerating and spurning its inhabitants in response to the prevailing mood.
…Rome by her very nature has a particular intoxication that wipes out memory. She’s not so much a city as a wild beast hidden in some secret part of you. There can be no half measures with her, either she’s the love of your life or you have to leave her, because that’s what the tender beast demands, to be loved. […] If she’s loved, she’ll give herself to you whichever way you want her, all you need to do is go with the flow and you’ll be within reach of the happiness you deserve. You’ll have summer evenings glittering with lights, vibrant spring mornings, café tablecloths ruffled by the wind like girls’ skirts, keen winters, and endless autumns, when she’ll seem vulnerable, sick, weary, swollen with shredded leaves that are silent underfoot. […] In this way you too, waiting day after day, will become part of her. You too will nourish the city. Until one sunny day, sniffing the wind from the sea and looking up at the sky, you’ll realize there’s nothing left to wait for. (pp. 7–8)
Calligarich’s prose is gorgeous and evocative, adding a sense of beauty to Leo’s loneliness and despair. There are times when the novella is infused with a sense of yearning for the past, a nostalgia for something that was lost or never fully attained. Calligarich’s portrayal of Leo’s father is especially poignant – a silent, orderly man who returned shattered from the War.
In summary, Last Summer in the City is a beautiful, melancholic story of a man lost and adrift in Rome. Here we have a piercing depiction of a doomed love affair, of two flawed, damaged individuals unable to connect – ultimately failing to realise what they could have had together until that chance has gone, frittered away like a night on the tiles. This intense, expresso-shot of a novella will likely resonate with those who have loved and lost.